In the course of one of his operations, Arunasalam nabs Ajay Malhotra (Prateik Babbar), the son of Vijay Malhotra (Nawab Shah), a top businessman, who happens to be the chief drug supplier in the city. In fact, we see him threatening and roughing up the members of the Human Rights Commission who question him about his rule-breaking (The film tries to project Arunasalam as a mentally disturbed person to justify his extrajudicial killings). Right in the opening scenes, the director establishes that his protagonist Aaditya Arunasalam (Rajinikanth), a top cop who has been deputed to Mumbai to tackle the drug menace in the city, isn’t someone who goes by the rule book. And that is what happens in Darbar, where an angry cop goes on a murderous rampage to take down a most-wanted criminal. Be it in Ramana or Thuppakki or Kaththi, his protagonists have to break law to ensure justice is served. Now it's up to his directors to let go of their idol worship.ĭarbar Story: A top cop is tasked with ending the drug menace in Mumbai, and to do this, he has to take on a most feared and ruthless mafia lord.ĭarbar Review: In the films of AR Murugadoss, justice isn’t always delivered by upholding the law of the land. His acting skills certainly haven't dulled with time.
And the scenes where we see his bond with his daughter Valli (Nivetha Thomas) bring out his softer side. He showcases snatches of grief-ridden madness in between. To his credit, he does everything demanded of him and more with characteristic panache. Why can't directors utilise his talent to push the envelope rather than making him work his swag in every film.
Does he really need another fan vehicle at this stage? Shouldn't he be getting roles that challenge him as an actor because underneath the trademark mannerisms lies one of the most brilliant actors alive today. You get a sense of opportunity being wasted.Īnd the same is true for Rajinikanth as well. She's graceful and charming no doubt but there's nothing substantial for her to do in this film. Except maybe to give something extra to the fans. One wants to know what was the need to cast her in the film. Nayanthara is a female superstar in her own right but has been grossly underutilised here.
There are conflicting ideologies at play here. Somehow instead of an astute director, we feel it's a super fan making a film for his ideal. The first twist, that of a proxy being used by the villain doesn't really grip you and the other, that of the identity of the chief villain being hidden from the hero too isn't as effective a ploy it could have been. Murugadoss is known for his twists but here they have little impact. The narration gets unnecessarily complicated because of this indulgence. It wouldn't have done any harm to the film. Director AR Murugadoss could easily have chosen to tell the story in a linear progression. It begins right at the beginning of the film and extends 20 minutes into the second half. The film has the longest flashback in the history of filmmaking. An enemy is on the prowl and Arunachalam has to utilise both his wits and fists to set things rights. It all seems to be going his way till his daughter gets killed in a road accident and he too gets injured. He wants to end the drug scene in Mumbai and captures the chief drug supplier Ajay Malhotra (Pratiek Babbar) to make that happen. So even a director of AR Murugadoss' stature has bowed down to the obvious.Īadhithya Arunachalam (Rajinikanth) is the newly arrived commissioner of police in Mumbai who works with his own set of rules. But the magic of his trademark moves hasn't faded. He's been doing it for more than 30 years now. It's aimed at fans who like to see their favourite superstar Rajinikanth enter the frame in his characteristic way, wear his sunglasses in his characteristic style, mouth punch dialogue galore and beat up twenty goons at one go. Some films are made just to satisfy the cravings of die hard fans and Darbar is one of them.
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